Musical

Lovely to Look at (1952) Mervyn LeRoy, Kathryn Grayson, Red Skelton, Howard Keel, Comedy, Musical, Romance

lovely-to-look-at-1952
Al Marsh, Tony Naylor and Jerry Ralby, Broadway producers, are desperately looking for backers. Al is one of the heirs of a dress salon in Paris, but this is almost bankrupt. The two other heiresses, Stephanie and Clarisse and the three producers are able to convince the creditors to back a fashion show there. Things become complicated, when Al and Tony fall in love with Stephanie and Al’s New York girl friend Bubbles arrives.

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Jalsaghar / The Music Room (1958) Satyajit Ray, Chhabi Biswas, Sardar Akhtar, Gangapada Basu, Drama, Music

jalsaghar-aka-the-music-room-1958
Huzur Biswamghar Roy is a rich landowner who lives in a palace with his wife and son and his many servants. His passion – his wife would call it his addiction – is music and he spends a great deal of his fortune on concerts held for the locals in his magnificent music room. His wealth is in decline however. His lands are being eroded by the local river and he pays for the concert he arranges for his son’s coming of age party by selling some of the family jewels. When his neighbor Ganguli invites him to a party at his house, Roy decides to one up him and organizes a lavish party for the same day – costing him the last of the jewels. After his wife and son are killed in a storm, Roy becomes something of a recluse, closing up the music room. Now, many years later he decides to have one final concert, spending the last of his money to again outdo – and spite – Ganguli.

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Humoresque (1946) Jean Negulesco, Joan Crawford, John Garfield, Oscar Levant, Drama, Music, Romance

humoresque-1946
Paul Boray comes from a working class background. He has been interested in the violin since he was a child, which his father disliked since he felt it a waste of money, but which his mother supported. Into his adult life, Paul wants to become a concert violinist, and although he shows talent, he does not have the right connections to make it into the concert performance world, much like his longtime friend, virtuoso pianist Sid Jeffers, and cellist Gina Romney, both who, like Paul, train with the National Institute Orchestra. Gina and Paul have a connection with each other, Gina who confesses her love for him. While performing at a party with Sid, Paul meets Helen and Victor Wright, their hosts. Victor is a perceptive but self-admittedly weak man, while his wife Helen is strong minded but insecure which manifests itself as neurosis. She constantly tries to forget about her unhappy life by excessive alcohol consumption. Helen becomes Paul’s benefactress, which ultimately results in a …

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Muscle Beach Party (1964) William Asher, Frankie Avalon, Annette Funicello, Luciana Paluzzi, Comedy, Musical

muscle-beach-party-1964
Suntanned surfer Frankie (Frankie Avalon) and his beach baby, Dee Dee (Annette Funicello), are all set for another summer of dancing, music and fun – until their favorite surfing spot is invaded by a slew of buff bodybuilders, led by trainer Jack Fanny (Don Rickles). When spoiled contessa Julie (Luciana Paluzzi) arrives to meet a muscle man, she spots Frankie and sets her sights on winning him instead, infuriating Dee Dee and leading to an all-out rumble between surfers and iron-pumpers.

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El amor brujo / Love, the Magician (1986) Carlos Saura, Antonio Gades, Cristina Hoyos, Laura del Sol, Music, Drama

el-amor-brujo-aka-love-the-magician-1986
In a Gypsy village, the fathers of Candela and José promise their children to each other. Years later, the unfaithful José marries Candela but while defending his lover Lucía in a brawl, he is stabbed to death. Carmelo, who secretly loves Candela since he was a boy, is arrested while helping José and unfairly sent to prison. Four years later he is released and declares his love for Candela. However, the woman is cursed by a bewitched love and every night she goes to the place where José died to dance with his ghost.

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Bodas de sangre / Blood Wedding (1981) Carlos Saura, Antonio Gades, Cristina Hoyos, Juan Antonio Jiménez, Mystery, Musical

bodas-de-sangre-aka-blood-wedding-1981
In a sense, Carlos Saura’s first foray into filming classical dance, Blood Wedding, may be seen, not as a stark departure from the immediacy of his narrative films, but rather, as an oblique return to form towards the social interrogations implicit in his earlier work on the fundamental question of Spanish identity – a particularly timely and relevant re-assessment in the aftermath of a contemporary history marked by institutional repression, creative censorship, and historical revisionism. It is within this framework that the selected adaptation of the seminal “rural trilogy” play by Spanish playwright, Federico García Lorca – a writer who was executed by Falangists in the early days of the Civil War and whose work was generally banned throughout Franco’s regime – seems particularly suited to this post Franco-era cultural introspection in its dark and tragic tale of passion, betrayal, and revenge.

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Victor Victoria (1982) Blake Edwards, Julie Andrews, James Garner, Robert Preston, Comedy, Musical

Victor Victoria (1982)
Victoria Grant (Julie Andrews), a down-and-out British soprano, struggles to find work in the nightclubs of 1930s Paris. While trying to scam a free meal, Grant meets cabaret performer Toddy (Robert Preston), who comes up with an idea that will change everything. Acting as her manager, Toddy bills Grant as a male female impersonator. When the nightclubs eat it up, the duo makes it big – even a Chicago mobster (James Garner) is enamored with Grant. But keeping the truth a secret is no easy task.

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